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Digitized  by  the  Internet  Archive 
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https://archive.org/details/mlleannapavlowa01unse 


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Repertoire 


AMARILLA 

Romantic  tragedy  founded  on  an  old  gypsy 
folk  song. 

Music  by  Glazounov,  Drigo,  Dargomiszki. 
ORIENTALE 

Ballet  of  barbaric  splendor,  arranged  by  M. 
Zailich  to  the  music  of  Seroff,  Mousorgski  and 
Rimski-Korsakoff. 

INVITATION  TO  THE  DANCE 

Dance  suite  arranged  by  M.  Zailich. 

Music  by  Weber. 

LA  FILLE  MAL  GARDEE 

Ballet  in  two  acts,  story  by  d’Oberval. 

Music  by  Gerthel. 

THE  SEVEN  DAUGHTERS  OF  THE  GHOST 
KING 

Fantastic  ballet  arranged  by  Michael  Fokine, 
maitre  de  ballet  of  the  Imperial  Opera  House 
at  St.  Petersburg. 

Music  by  Alexander  Spendiarow. 

LES  PRELUDES 

Futuristic  ballet  arranged  and  produced  by 
M.  Fokine.  Founded  on  Lamartine’s  Medi- 
tations Poetiques. 

Music  by  Liszt. 


GISELLE 

Ballet  in  two  acts  founded  on  the  poem  by 
Theophile  Gautier. 

Music  by  Adolphe  Adam. 

THE  MAGIC  FLUTE 

Arranged  by  Marius  Petipa,  late  head  of  the 
Imperial  Russian  Ballet  system. 

Music  by  Drigo. 

PAQUITA 

Arranged  by  Petipa. 

Music  by  Deldevez. 

HALTE  de  CA VALERIE 
Arranged  by  Petipa. 

Music  by  Armsseimer. 

COPPELIA 

Ballet  in  two  acts  from  The  Tales  of  Hoff- 
mann, arranged  by  Neweter  and  St.  Leon. 
Music  by  Delibes. 

TSCHNAJA 

Fanciful  Muscovitlc  ballet. 

SUITE  DE  CHOPIN 

Arranged  by  Clustine,  maitre  de  ballet.  Grand 
Opera,  Paris. 


Divertissements 


DANSE  DE  PRINTEMPS Meyer-Helmund 

PAS  DE  DEUX  (En  Orange) Girot 

LA  CYGNE  (The  Swan) Saint-Saens 

MAZURKA,  ADAGIO.  VARIATIONS,  CZARDAS, 

GALOP  FINAL,  (from  Coppelia) Delibes 

POLKA  PIZZICATO Drigo 

MOMENT  MUSICAL Schubert 

PAS  DE  TROIS Drigo 

LA  NUIT Rubinstein 

VALSE  MINUTE Chopin 

MINUET Paderewski 


ROSE  MOURANTE  (Valse  Bluette) Drigo 

VALSE  DANUBE Strauss 

MAZURKA Glinka 

CZARDAS Grossman 

VALSE  C APR  I CE Rubinstein 

DANSE  RUSSE Ahrens 

RHAPSODIE  HONGROISE Uszt 

L’AUTOMNE  BACCHANALE Qazounov 

and 


MODERN  SOCIETY  DANCEIS  and  Other  Divertissements 


Executive  Staff 

FOR  PAVLOWA  BALLET.  Inc. 

I Representatives  in  Advance 

Company  Manager 

THEODORE  H.  BAUER General  Representative  PHILLIP  BARUCHSON Assistant  to  Manager 


MAX  FIABINOFF') 
DANIEL  MAYER J' 


, Managing  Directors 


MAXIMILLIAN  ELSER, 
A.  LEBENSON 
STANLEY  SHARPE  .... 


e.CL, 

79  CL 

,&Lj.oq  ^ 


Pavlowa’s  Art  and  Its  Meaning 


The  dance,  as  exemplified  by  Mile.  Pavlowa 
and  her  associates  accomplishes  a double  end. 
First  of  all  these  Russians  furnish  delightful,  in- 
spiriting and  uplifting  entertainment  for  everybody. 
Secondly,  they  meet  the  demands  of  the  most 
exacting  connoisseurs  of  drama,  art  and  music. 
Pavlowa  startled  the  world  into  an  appreciation 
of  the  Dance.  And  the  Dance  is  no  longer  re- 
garded as  the  little  sister  of  the  arts,  but  as  a 
great  and  mighty  art  unto  itself. 

Huntley  Carter,  eminent  English  critic,  sums  up 
the  situation  by  writing  that  the  Russian  ballets 
“are  the  first  real  advance  in  the  third  great  dram- 
atic movement  of  the  world.  First  came  the  Greeks, 
then  Shakespeare,  and  now  comes  the  new  Clas- 
sicism. The  Russian  ballet  offers  a spectacle 
of  a world  wherein  a theme  is  handled  with  sim- 


plicity, beauty  and  strength  by  three  sets  of  hands, 
working  as  one  and  directed  by  a master  builder.” 
Mr.  Carter’s  reason  for  this  broad  statement  is  at 
once  evident  to  all  who  have  enjoyed  the  unified 
effect,  the  symphony  as  it  were,  of  the  dance  drama, 
the  music  and  the  astounding  graphic  art,  in  scenery 
and  costumes,  of  Pavlowa  and  her  organization. 

In  their  tragedies  and  comedies,  complete  plays 
in  one  and  two  acts,  which  they  tell  in  the  dance, 
Pavlowa  and  her  company  have  a message  for  all 
who  like  drama,  music,  or  line  and  mass  and  color 
as  shown  in  settings  and  costumes. 

What  other  art  is  there  besides  Pavlowa’s  which 
is  so  tremendously  popular  throughout  the  world, 
with  such  a universal  appeal,  and  which  is  at  the 
same  time  the  cause  of  so  much  enthusiasm  among 
the  cognoscenti? 


Amarilla 

This  is  a fragile  little  drama,  told 
in  the  dance,  of  true  love  and 
false,  for  in  the  guise  of  a peasant 
a Count  has  wooed  and  won  the 
heart  of  Amarilla,  the  gypsy  maid. 
Then  he  disappears. 

The  scene  opens  with  a fete  cham- 
petre,  like  something  of  Watteau’s. 
It  is  in  the  garden  of  the  Countess 
whom  the  Count  is  now  to  wed.  A 
troop  of  gypsies,  engaged  to  liven  the 
fete,  come  dancing  on.  Amarilla  is 
their  queen.  She  does  not  recog- 
nize her  faithless  lover  until  she 
starts  to  tell  with  cards  the  fortune 
of  the  Countess  and  her  swain.  There 
is  tragedy  in  Amarilla’s  look  of  recog- 
nition, deep  pathos  as  the  Count 
makes  signs  to  her  that  he  cannot 
know  her  any  longer.  She  faints. 
But  her  brother’s  palm  has  been 
crossed  with  gold.  He  makes  Ama- 
rilla arise  and  dance.  It  is  as  if  the 
young  girl’s  heart  would  break,  for 
she  must  dance  for  hire  to  please  the 
bride  of  him  who  used  to  hold  her 
in  his  arms.  She  braces  herself  for 
the  ordeal,  then  almost  faints  again. 
But  watching  the  other  gypsies  dance, 
the  Count  and  Countess  do  not 

{Continued  on  next  page) 


“LE  PAPILLON” 


A m a 

notice,  and  indeed  the  nobleman  does  not  care. 

Then  Amarilla  really  begins  to  dance.  She 
will  regain  her  faithless  lover!  There  is  wild  pas- 
sion, fierce  abandon  in  this  her  last  desperate 
struggle  to  win  back  the  man  she  loves.  But 
the  Count  is  as  of  stone — or  else  he  sees  in  his 
mind’s  eye  the  proud  mansion  and  the  broad  acres 
of  the  Countess,  soon  to  become  his  own.  Grandly, 
and  with  measured  tread,  the  Count  leaves  the 
garden,  his  Countess  on  his  arm.  Amarilla’s  com- 
panions clink  the  gold  they  have  received  and 
dance  away.  The  maiden  is  left  standing  all  alone. 

O r i e 

This  is  an  Arabian  Night,  full  of  the  glorious 
poisoned  splendors  of  the  East,  and  yet  with 
pure  love  triumphant.  It  tells  of  how  a young 
knight  of  the  Crescent,  an  Oriental  Galahad,  re- 
turning from  the  wars,  and  lost  in  the  deep  forest, 
comes  upon  the  palace  of  the  beautiful  enchantress. 
With  passionate  seductiveness  she  seeks  to  get  him 
in  her  power.  And  she  is  fair  of  face  and  form  and 
ravishingly  she  dances.  But  almost  yielding  to 
her  charms,  his  talisman,  a magic  sash,  saves  him 
for  his  true  love  who  awaits  him  in  Bagdad. 

The  dancing  of  Pavlowa  and  her  Russians,  the 
palpitating  music  of  Rimski-Korsakoff,  Seroff  and 
Mousorgski  and  the  gorgeous  golds  and  greens  and 
reds  and  blues  of  Bakst  in  setting  and  costume, 
make  the  Orientale  a masterpiece. 

The  scene  is  the  banquet  hall  of  the  enchantress, 
where  the  young  knight  is  welcomed  from  his  wan- 
derings. She  sees  in  him  another  victim  to  add 
to  her  train  of  former  heroes  who  live  a life  in  death. 


r 1 1 1 d.  (Continued) 

Will  he  come  back?  At  least  an  explanation,  just 
a word  of  pity.  He  cannot  be  so  cruel.  And  then 
he  does  come  back.  Wild  with  joy  she  rushes 
toward  him,  stretching  out  her  arms.  Coldly  he 
holds  out  a purse  of  gold.  Only  then  does  Amarilla 
fully  realize  that  to  him  she  is  a clod.  As  he 
calmly  walks  away  she  staggers  to  a garden  seat, 
and,  one  for  whom  the  joy  of  life  is  gone  forever, 
falls  senseless. 

The  action  of  Amarilla  is  founded  on  an  old 
gypsy  folk  song.  The  music  is  by  Dargomiszki, 
Drigo  and  Glazounov. 

n t a 1 e 

She  seats  him  at  her  right,  and  while  a rich  repast 
is  set  before  them  her  slave  girls  dance.  But  the 
image  of  his  loved  one  is  in  his  heart,  and,  though 
the  dance  is  wild,  the  wine  red,  the  music  throbbing, 
he  is  unmoved  by  the  words  of  endearment  the 
enchantress  pours  into  his  ear.  Then  her  vanity 
sorely  piqued,  the  enchantress  rises  languorously 
to  dance  for  him  herself.  With  her  slave  girls 
dancing  in  the  background  she  weaves  a most 
seductive  figure,  the  music  growing  wilder  and 
wilder.  A bright  flush  mantles  the  young  knight’s 
face,  and  he  rises  from  his  seat.  The  dance  grows 
wilder  still.  Slowly,  as  if  unwilling,  yet  o’er- 
powered,  he  starts  to  fold  her  in  his  arms — but  he 
hears  his  true  love  intoning  the  exorcisms  inscribed 
upon  his  sash,  and  though  the  sorceress  tries  to 
tear  the  sacred  scarf  from  off  his  shoulder,  he  eludes 
her  and  escapes  into  the  night. 

For  true  love  is  a talisman  to  keep  a man  from 
harm. 


Invitation  to  the  Dance 


WEBER’S  famous  composition  The  Invi- 
tation to  the  Dance  contains,  according  to 
the  composer’s  own  ideas,  the  program  of  a 
drama  in  the  dance.  The  Introduction  describes 
the  meeting  of  two  young  persons,  their  conversa- 
tion and  the  interest  that  gradually  grows  in  each 
other.  The  strains  of  the  valse  sound  all  the  shades 
of  youthful  sentiment,  from  awakening  love  to 
passionate  emotion.  The  Final  Coda  is  a repetition 
of  the  sentiments  expressed  in  the  Introduction 
and  tells  of  the  sorrow  and  regret  with  which  the 
young  couple  part  at  the  end  of  the  dance.  Weber’s 


own  explanation  of  his  famous  composition  first 
gave  to  M.  Zailich  the  idea  of  arranging  a suite  of 
dances  to  it. 

The  scene  represents  a ball  in  a house  of 
wealth.  The  guests,  in  costumes  of  1830,  arrive, 
and  a girl  and  young  man  are  presented.  They 
are  immediately  attracted  to  each  other,  and  when 
the  ball  opens  they  dance  together.  As  the 
dance  proceeds  their  interest  in  each  other  grows, 
until  real  sentiment  is  formed;  but  as  the  music  of 
the  valse  dies  away  they  are  forced  to  part,  and 
their  dawning  love  is  ended. 


PAVLOWA  AND  NOVIKOFF  ' 
IN  THE  BACCHANALE:  j 


The  Seven  Daughters  of  the 
Ghost  King 

This  is  an  Oriental  version  of  a segment  of  the 
Niebelungen  legend — for  the  seven  daugh- 
ters of  the  Ghost  King  are  closely  comparable  to 
the  Walkiire  in  the  second  opera  of  Wagner’s  great 
ring.  It  might  seem  a far  cry  from  Wagner  to  the 
Russian  ballet — considering  how  reluctant  the 
composer  was  to  introduce  the  ballet  into  Tann- 
hauser.  Yet  since  these  Russians  have  accom- 
plished that  unification  of  effect  which  Wagner 
strove  for,  it  is  fitting  that  one  of  their  great  ballets 
should  have  for  its  foundation  a story  similar  to  his 
greatest  inspiration.  Wagner’s  aim  of  a combina- 
tion into  a symphonic  whole  of  music,  drama, 
painting  and  architecture,  has  been  achieved  by 
these  Muscovitic  wizards — with  particular  success 
in  The  Seven  Daughters  of  the  Ghost  King. 

The  mighty  King  of  the  Djinns,  having  been 
warned  of  the  fate  that  would  befall  his  daughters 
should  ever  they  meet  man,  keeps  them  close 
within  his  castle  on  the  mountain  peaks.  Only 
mighty  mortal  heroes  or  the  strongest  of  the  race 
of  Djinns  can  reach  these  cloud-capped  heights. 
For  years  the  seven  daughters,  the  winged  Euph- 
rides,  lived  within  their  cloistered  gardens.  As 
they  grew  to  womanhood  vague  yearnings  filled 
their  souls.  Fair  were  the  gardens  and  merry  the 
games  they  played  together.  But  all  labored 
under  a sadness — a sadness  the  cause  of  which 
none  could  tell. 

Then  came  the  day,  when  with  the  King  away. 
Prince  Hassan  and  his  followers  sought  entrance 
at  the  gates.  The  Euphrides  open  the  gates.  Six 
of  the  daughters,  overcome  by  the  splendor  of  the 
mortals,  join  with  them  in  a dance  of  love  and  re- 
joicing. Only  the  youngest.  Crystal  Spring,  re- 
mains aloof,  though  her  heart  is  breaking  for  love 
of  young  Prince  Hassan.  Then  the  King  returns. 
And  like  Wotan  he  employs  fire — destroying  his 
six  disobedient  daughters.  Crystal  Spring  remains 
alone.  But  she  has  felt  love.  She  realizes  that 
life  without  love  is  nothing.  So,  mad  with  yearn- 
ing for  the  prince  of  her  dreams,  she  dances  the 
dance  of  death  and  dies. 

The  music  used  for  the  symbolic  Seven  Daugh- 
ters of  the  Ghost  King  is  the  symphonic  picture 
called  Three  Palms,  by  Alexander  Spendcarow. 


La  Fille  Mai  Gardee 


La  fille  MAL  gardee  relates  the  way 
of  a maid  in  love  with  a poor  youth,  when 
against  her  will  she  would  be  bestowed  on  a rich 
suitor.  It  is  a tale  of  every  time  and  land,  yet 
ever  new,  that  supplied  d’Oberval,  an  old  French 
writer,  with  an  argument  for  a ballet.  The  music 
is  by  Gerthel,  a composer  little  known  in  these 
days.  Its  quaintness  and  tuneful  quality  especially 
adapt  it  to  the  spirit  of  the  dance-comedy.  Elise, 
joyous,  laughter-loving  daughter  of  Marcelline, 
widow  of  a wealthy  farmer,  has  been  forbidden  to 
meet  Colin,  a peasant.  She  has  been  chosen  as 
the  bride  of  Nicasse,  simpleton  son  of  a rich  neigh- 
bor, and  when  Colin  comes  to  talk  to  her  in  the 
farmyard  he  is  driven  away  by  the  designing 
mother.  Elise’s  friends  who  are  employed  on  the 
farm  arrive  for  the  day’s  work,  and  are  sent  to  the 
fields  by  Marcelline,  who,  setting  Elise  a task  at 
churning,  follows  them.  Colin  reappears  and  urges 
Elise  to  go  with  him,  but  she  refuses,  though  she 
consents  to  dance  with  him.  They  imitate  the 
games  of  their  childhood  in  the  dance 
until  the  laborers  return,  with  Mar- 
celline close  behind.  She  orders  the 
peasants  away  and  Elise  back  to  her 
task.  The  wealthy  neighbor  appears 
with  his  half-witted  son.  Elise  re- 
pulses Nicasse,  but  her  mother  forces 
her  to  consent  to  marry  him,  and 
their  friends  are  called  to  celebrate 
the  betrothal.  Colin  comes  with  the 
others,  and  Marcelline,  believing  her 
daughter  safe  from  him  now,  permits 
him  to  dance  with  Elise.  A thunder- 
storm scatters  the  guests  and  sends 
Marcelline  and  Elise  to  the  house. 

In  the  second  scene  mother  and 
daughter  enter  the  house  to  escape 
the  storm.  Marcelline  begins  to  spin, 
but  Elise  in  her  unhappiness  refuses 
to  work.  To  conciliate  the  child  her 
mother  allows  her  to  dance  and 
accompanies  her  on  the  tambourine 
until  at  length  Marcelline  falls  asleep. 

Then  Colin  comes  to  a window. 

While  Elise  is  hunting  for  the  key  to 
let  him  in  the  harvesters  enter  with 
sheaves  of  corn.  Colin,  unseen  by 
Marcelline,  passes  in  with  them  and 


hides  behind  the  sheaves.  All  set  out  for  the 
harvest  festival,  except  Elise,  whose  mother  locks 
her  in  the  house.  Unaware  of  Colin’s  pres- 
ence she  is  startled  when  he  comes  from  conceal- 
ment, and  berates  him  for  placing  her  in  a com- 
promising position.  He  reassures  her,  but  at  that 
moment  they  hear  Marcelline  approaching.  Elise 
hides  Colin  in  the  barn,  where  her  mother,  angry 
at  the  disorder  in  the  room,  also  sends  the  girl  for 
punishment.  Nicasse,  bridegroom  elect,  arrives 
with  his  father  and  a notary  to  sign  the  marriage 
contract.  He  asks  for  Elise,  and  Marcelline, 
giving  him  the  key  to  the  barn,  bids  him  fetch  her. 
Everybody  is  astounded  when  Elise  and  Colin  step 
forth  together.  The  notary  convinces  Marcelline 
that  it  is  best  for  Elise  and  Colin  to  marry,  so  the 
contract  with  Nicasse  is  destroyed,  and  with  much 
merriment  the  young  people  drive  the  simpleton 
and  his  father  away.  Marcelline,  amid  general 
rejoicing,  bids  all  celebrate  the  betrothal  of  Colin 
and  Elise. 


Love  never  dies.  In  the  eternal  conflict 
against  overpowering  circumstances,  against 
greater  forces  than  he  can  command,  Man  is  sus- 
tained and  aided  by  Love.  Even  Death  the  inevi- 
table and  the  cruel  powers  of  Darkness  are  faced 
bravely  while  Love  lives.  Such  in  brief  is  the 
inspiring  theme  of  Les  Preludes,  one  of  the  mas- 
terpieces of  the  modern  ballet,  conceived  by  M. 
Michael  Fokine  of  the  Imperial  Theatres  of  St. 
Petersburg,  and  Mile.  Pavlowa’s  maitre  de  ballet. 
The  pictorial  settings  were  designed  by  the  young 
Russian  artist,  Boris  Anisfeld,  and  are  wonderfully 
in  harmony  with  the  spirit  of  Lamartine’s  Poetic 
Meditations,  which  were  the  inspiration  for  the 
symphonic  poem  (No.  3)  of  Franz  Liszt.  This  is 
the  composition  M.  Fokine  has  chosen  as  the  musi- 
cal background  for  Les  Preludes.  Here  are  the 
inspiring  thoughts  of  the  great  French  poet  which 


Les 

are  now  interpreted  in  so  unusual  and  unique  a 
fashion. 

The  curtain  rises  upon  that  darkness  that  pre- 
cedes dawn.  A faint  ray  illumes  a scene  of  peace- 
ful tranquillity.  Presently  in  a movement  expres- 
sive of  the  innocent  joy  of  Life,  all  harmony  and 
rhythm,  enter  the  lightly  clad,  graceful  figures  of 
Beauty  and  Light.  Their  presence  seems  to  illu- 
minate the  rustic  landscape  with  a wonderful  light. 

We  become  aware  of  the  presence  of  Man,  peace- 
fully and  contentedly  reclining  at  the  side  of  his 
beloved. 

Then  almost  imperceptibly  in  the  background, 
silently,  slowly,  ominously,  like  phantoms,  glide 
into  the  scene  the  overshadowing  figures  of  the 
powers  of  Darkness.  But  Man  and  Love  are 
aware  only  of  Happiness  and  Light  and  Peace — 
until  the  happy  figures  of  Light  and  Joy  are  van- 


P 


quished  by  the  icy  cruel  presence  of  Darkness  and 
Death. 

The  graceful  feminine  forms  have  vanished. 
Man  finds  himself  alone  with  the  cruel  powers  of 
Darkness.  He  must  fight  these  foes.  This  com- 
bat represents  the  storm  of  Life,  the  fight  against 
overpowering  odds.  It  is  the  battle  that  brings 
to  birth  all  the  sterling  qualities  of  manhood — 
Courage,  Bravery,  Valor,  Heroism.  It  is  the  bat- 
tle against  corruption,  against  evil  of  every  type, 
against  pain,  against  disease.  But  the  vision  of 
Love  is  in  the  Man’s  eyes,  and  he  triumphs  over 
the  powers  of  Darkness. 

But  his  soul  is  wounded,  disillusioned.  Life  is 
not  the  empty  idle  dream  he  had  imagined.  Weary 
and  fatigued,  in  the  depths  of  despair,  Man  seeks 
a resting  place,  when  Love  and  her  handmaidens, 
the  daughters  of  Light  and  Beauty,  return  to  heal 


his  wounded  soul,  to  celebrate  his  Bravery  and  his 
Valor.  Love  reigns  again  in  the  peaceful  surround- 
ings. All  Life  smiles. 

But  the  theme  of  Les  Preludes  penetrates 
even  more  deeply  into  the  spirit  of  Reality.  At  the 
moment  of  greatest  happiness.  Tragedy  is  lurking 
in  the  background.  The  powers  of  Darkness  again 
interrupt  the  joyous  scene.  The  sombre  note  of 
Fate  is  sounded.  Man  must  meet  Death  the  Inevi- 
table. But  he  enters  this  final  battle  with  Death 
with  Hope  in  his  heart,  for  he  is  supported  by  Love. 
In  his  last  hour,  he  still  triumphs.  The  beauty  of 
Love  is  but  the  dawn  of  the  greater  Life. 

The  ballet  is  imbued  with  the  deeply  religious 
spirit  of  Botticelli  and  the  artists  of  the  Italian 
Quatrocento,  a spirit  which  has  appealed  to  Fokine 
and  Anisfeld  and  Mile.  Pavlowa  as  most  closely  in 
harmony  with  the  sad  but  inspiring  thoughts  of 
Lamartine  and  the  music  of  Liszt. 


Giselle 


IN  the  beautiful  valley  of  the  Rhine,  rich  in  lore 
and  legend,  Theophile  Gautier’s  fancy  set  the 
romance  of  Giselle,  peopling  it  with  picturesque 
nobles  and  peasants,  vivifying  it  with  love  and 
tragedy,  and  the  theme  inspired  Adolphe  Adam  to 
compose  music  that  breathes  the  spirit  of  the  poem. 

It  is  the  dawn  of  vintage-day,  the  festival  of 
vineyard  harvest.  The  sun,  newly  risen,  lights 
two  humble  cottages  under  a castle-tipped  crag, 
the  holding  of  the  young  Count  Albrecht,  owner 
of  all  the  region. 

Two  youths,  garbed  as  peasants,  appear  from  one 
of  the  cottages.  Th^y  are  the  Count  Albrecht 
and  his  squire  Wilfrid.  Albrecht,  betrothed  for 
reasons  of  state  to  the  Princess  Bathilde,  is  in  love 
with  the  pretty  Giselle  who  lives  in  the  cottage 
opposite.  To  press  his  suit  he  has  come  down  from 
his  castle,  laid  off  the  dress  of  his  station,  occupied 
the  cottage  near  Giselle  and  mingled  with  the 
peasants  as  Loys.  And  Giselle  loves  him. 

Now,  in  the  eagerness  of  love,  he  has  arisen  with 
the  morn  to  meet  Giselle  and  urge  her  to  be  his 
companion  for  the  fete  day.  Wilfrid,  foreseeing 
ill  in  the  adventure,  attempts  to  dissuade  his  mas- 
ter, but  his  counsels  avail  nothing.  Dismissing 
his  squire,  Loys  hastens  to  Giselle,  who  has  come 
from  her  home,  and,  her  thoughts  of  her  lover,  is 
reading  the  language  of  flowers.  In  the  joy  of  their 


meeting  the  youth  and  girl  dance  the  measures  they 
are  to  execute  in  the  later  day’s  festivities,  and  as 
the  villagers  arrive  they  are  infected  by  the  glad 
spirit  of  the  dance  until  the  merry  company  is 
whirling  in  wild  steps. 

One  of  the  company  is  out  of  harmony  with  the 
gaiety.  He  is  Hilarion,  rough  huntsman,  whom 
Giselle  has  repulsed,  and  now  embittered  by  jeal- 
ousy he  plots  vengeance. 

In  the  ecstacy  of  happiness  Giselle  dances  more 
madly  than  any  of  the  others  until  her  mother, 
Bertha,  warns  her  to  desist,  prophesying  that  she 
will  become  a Wilis,  one  of  those  wraiths  of  gloomy 
forest  who  dancing  at  night  in  robes  of  vapor  lure 
men  to  the  brink  of  a chasm  and  plunge  them  to 
death  in  the  waters  at  its  depth. 

Giselle  laughs.  Better  to  dance  than  to  lie  in  a 
coffin,  she  flings  back. 

She  is  crowned  queen  of  the  holiday,  and  choosing 
Loys  as  her  knight  they  lead  in  the  dancing. 

The  sudden  notes  of  a hunting  horn  halt  the 
festivities.  The  Duke  and  his  daughter,  the  Prin- 
cess Bathilde,  hunting  with  a gallant  company, 
have  come  upon  the  merry-makers,  and  wearied 
from  the  chase  they  dismount  to  rest. 

Giselle  is  struck  with  admiration  for  the  princess, 
who  is  attracted  by  the  beauty  of  the  peasant  girl. 
Bathilde  beckons  to  Giselle  and  questions  her. 


They  confide  to  each  other  that  they  are  betrothed, 
and  the  princess  takes  from  her  neck  a gold  chain 
and  places  it  on  Giselle,  a wedding  dowry.  The 
princess  asks  for  the  fortunate  youth  who  has 
won  Giselle.  Loys  has  disappeared.  He  has  fled 
to  escape  recognition  and  exposure  by  the  princess 
and  the  hunting  party. 

Hilarion  comes  forward  and  flings  down  the  rich 
cloak  and  sword  and  golden  spurs  Albrecht  had  dis- 
carded in  the  cottage  when  he  assumed  the  guise 
of  Loys. 

Realizing  that  Loys  is  Count  Albrecht,  plighted 
to  the  princess,  Giselle  is  bereft  of  reason.  In  her 
madness  she  dances  again  the  figures  she  has 
danced  with  Loys,  then  snatches  up  his  sword,  and 
before  Albrecht,  who  has  come  from  hiding,  can 
turn  the  weapon,  she  plunges  the  blade  into  her 
bosom.  Even  in  her  last  mortal  agony  she  essays 
to  dance,  but  her  faltering  steps  end  as  she  sinks 
lifeless  into  the  arms  of  her  mother  and  the  princess, 
while  the  Count  is  crushed  with  horror  and  Hilarion 
stricken  with  remorse. 

The  second  act  is  the  fearsome  forest  at  night. 
Moonlight  falling  through  the  blackness  whitens 
a cross  above  a little  mound.  It  is  the  grave  of 
Giselle.  Hilarion  and  a party  of  huntsmen,  lost 
in  the  woods,  force  their  way  into  the  opening. 
Hilarion  sees  the  cross.  He  knows  it  stands  over 
Giselle  whose  death  he  caused,  and  he  discovers  the 
rings  in  the  turf  which  mark  the  dancing  of  the 
Wilis.  Terror-stricken  he  flees  from  the  spot  as  a 
distant  bell  tolls  midnight.  The  last  stroke  sum- 
mons the  Wilis,  female  spirits,  who  at  command  of 


their  queen  begin  their  weird  revels.  They  call 
Giselle  from  her  grave  and  undertake  to  instruct 
her  in  the  dance,  but  she  dances  more  wonderfully 
than  they.  Hilarion,  bewildered  and  separated 
from  his  companions,  comes  again  into  the  glade. 
The  Wilis  surround  him  and  by  their  mysterious 
force  impel  him,  resisting,  to  the  chasm  of  doom. 
He  struggles,  plunges  from  sight,  and  the  splash 
tells  that  he  has  disappeared  in  the  waters  of  death. 

Dancing  in  their  frenzy  of  glee  the  unholy  spirits 
espy  another  coming  toward  them.  He  is  Albrecht, 
drawn  in  grief  to  the  grave  of  Giselle,  who  implores 
the  phantoms  to  spare  him.  They  are  pitiless,  but 
Giselle  discerns  safety  for  him.  She  motions  him  to 
cling  to  the  cross,  for  touching  that  the  Wilis  are 
powerless  against  him.  Angrily  the  queen  com- 
mands Giselle  to  lure  him  from  sanctuary.  She 
must  draw  him  to  her  byMancing.  Giselle  dances, 
but  her  message  to  Albrecht  is  to  hold  fast  to  the 
cross.  He  combats  the  temptation  to  clasp  Giselle 
to  him.  Love  is  greater  than  fear.  One  arm  falls 
from  the  cross,  then  the  other,  and  he  is  fair  prey 
for  the  Wilis.  A glow  proclaims  the  dawn.  Their 
night  is  done,  their  evil  stayed,  for  the  Wilis  can 
work  their  wickedness  only  in  darkness.  They 
fade  into  air.  The  form  of  Giselle  alone  remains. 
Albrecht  rushes  toward  it,  but  it  sinks  into  a bed  of 
flowers. 

He  plucks  one  of  the  flowers,  presses  it  to  his  lips, 
and  at  the  moment  the  Princess  Bathilde  and 
Wilfrid,  alarmed  over  his  absence  and  in  search  of 
him,  come  upon  him,  he  sinks  unconscious  on 
Giselle’s  grave. 


Some  of  Those 

LAWRENTI  NOVIKOFF,  chief  supporting 
danseur  with  Pavlowa,  is  premier  danseur 
classique  of  the  Imperial  Opera  House  at  Moscow. 
This  is  the  highest  rank  to  which  a danseur  can  at- 
tain. Novikoff  has  long  been  a favorite  in  Russia. 
With  Pavlowa  he  has  achieved  renown  through- 
out the  east  of  Europe,  especially  in  Germany 
and  in  France,  and  particularly  in  England. 

Premier  danseur  de  caractere  is  the  title  of  Sergie 
Zailich  at  the  Imperial  Opera  House  of  Moscow. 

M.  Cecchetti  is  premier  mime  of  the  Imperial 
Opera  House  at  St.  Petersburg,  and  is  also  head 
master  of  the  Imperial  Mariensky  Institute  at 
the  Russian  capital. 

Stephina  Plaskowieszka,  chief  sola  danseuse  with 
Pavlowa  has  the  rank  of  premiere  danseuse  de 


With  Pavlowa 

caractere  at  the  Imperial  Opera  House  at  St. 
Petersburg. 

Theodore  Stier  conductor  of  the  orchestra  with 
Pavlowa  is  a Russian-Viennese.  He  is  regarded 
both  abroad  and  in  America,  where  he  achieved 
fame  with  Pavlowa  three  seasons  ago,  as  the  most 
skilful  and  sympathetic  ballet  conductor  of  the  day. 

There  is  a wide  difference  between  conducting 
a regular  symphonic  program,  or  guiding  an 
orchestra  through  an  operatic  performance,  and 
leading  musicians  who  play  for  a dancing  perform- 
ance. It  is  held  that  some  of  the  greatest  sym- 
phonic and  operatic  conductors  of  the  day  would 
make  a sorry  mess  of  “L’Orientale.”  In  St.  Peters- 
burg, indeed,  at  the  Imperial  Opera,  they  have 
separate  conductors  for  the  opera  and  the  ballet. 


The  Mai 

This  is  a tale  of  Lise,  the  farmer’s  daughter, 
and  her  love  for  Luc,  her  companion  in  the 
fields,  and  of  how  their  true  love  triumphs  over 
age  and  greed  of  gold,  all  by  the  power  of  the  magic 
flute  of  Oberon,  the  King  of  Faery.  Many  and 
laugh  provoking  are  the  mishaps  of  those  who  would 
stay  the  course  of  true  love,  namely,  the  vain  and 
silly  old  marquis,  his  footman  and  retainers,  and 
the  grasping  farmer’s  wife  who  would  wed  her 
daughter  to  the  nobleman’s  gold.  Done  into  a 
dance  drama  by  Marius  Petipa,  to  Drigo’s  music. 
The  scene  is  a French  village,  the  time  in  the  reign 
of  Louis  XV.  For  work  well  done  the  farmer’s 
wife  regales  the  peasants  with  beer,  and  bids  them 
dance.  Luc,  slyly  beckoned  to  by  Lise,  joins  the 
girl,  but  her  mother  seeing  them  dancing  together 
berates  him  for  aspiring  to  her  daughter’s  hand  and 
orders  him  begone.  Now  there  is  excitement,  for 
the  marquis’  footman  comes  with  a message  telling 
that  his  master  is  to  choose  a bride  from  among  the 
village  maidens.  On  the  heels  of  his  messenger 
appears  the  marquis,  trying,  as  he  scatters  atten- 
tions among  the  girls,  to  conceal  years  beneath 
sprightliness,  and  when  the  farmer’s  wife  presents 
Lise  his  quest  is  ended.  He  is  in  love  at  once. 
But  though  scorned  by  the  girl  his  attentions 
please  her  mother,  who  insists  that  Lise  receive 
them,  and  Luc,  returning,  hears  the  nobleman,  on 
bended  knee,  declare  his  love.  But  when  the  Mar- 
quis would  kiss  Lise’s  hand  he  caresses  that  of  Luc 
instead.  To  display  his  graces  the  marquis  at- 
tempts to  instruct  Lise  in  the  dance  of  aristocracy, 
the  minuet,  until  she  shows  him  the  dance  of  the 
villagers,  and  this  done  he  accepts  an  invitation 
from  the  farmer’s  wife  to  take  refreshments  in  her 
house.  The  villagers  leave,  but  Luc,  persevering 
as  all  lovers  should,  reappears.  Ejected  by  the 
farmer’s  wife  he  sits  on  the  steps  of  the  judge’s 
house  nearby  to  watch  for  his  love,  and  waiting 


Paquita 

OF  all  classic  ballets,  Paquita  is  considered  the 
foremost.  It  is  held  as  a masterpiece  of  the 
art  of  dancing.  It  was  composed  by  Petipa  and  is 
set  to  the  music  of  Deldevez. 

In  Spain,  at  the  time  of  the  wars  with  Napoleon, 
the  French  Governor  gives  a brilliant  ball  in  his 
palace.  The  scene  is  one  of  splendor.  Partisans 
of  France  and  those  of  the  Spanish  aristocracy  who 
for  reasons  of  policy  affect  a friendliness  with  the 
usurpers,  meet  and  mingle.  Society  reflects  the 
feverish  spirit  and  unrest  of  war  and  impending 


i c Flute 

there  he  sees  an  aged  hermit  driven  from  the  door. 
In  compassion  Luc  goes  to  the  man’s  aid,  and  gives 
to  him  his  last  coin.  The  hermit  inquires  of  Luc 
the  reason  for  his  dejection,  and  the  youth  recites 
his  story,  to  note  with  surprise  as  he  finishes  that 
he  is  alone.  His  eyes  fall  on  a flute  above  which 
is  written,  “Play  on  this  and  everybody  will  be 
forced  to  dance.  It  will  bring  you  luck.” 
Taking  the  flute  Luc  tries  its  notes.  The  sound 
brings  Lise,  who  dances  until  she  falls  exhausted. 
Luc  explains  the  secret  of  the  flute,  and  proposes 
that  they  try  it  on  her  mother.  Indignantly 
the  girl  rejects  the  suggestion  until  Luc  threatens 
to  leave  her,  whereupon  she  agrees  to  his  plan. 
Forth  from  the  house  comes  the  mother,  enraged 
at  finding  the  lovers  together.  Summoning 
the  marquis  and  his  footman  to  her  aid  they 
advance,  armed,  the  woman  with  broom,  the  mar- 
quis with  sword,  the  footman  with  stick,  but  the 
flute  changes  their  warlike  charge  to  a dance,  which 
is  protracted  until  their  strength  is  spent.  The 
marquis  charges  Luc  with  sorcery  and  calls  the 
gendarmes  to  arrest  him.  Luc  plays  and  again 
everybody,  including  the  gendarmes,  prance  and 
hop.  After  a time  Luc  is  disarmed  of  his  magic 
flute  and  haled  before  the  judge.  This  dignitary, 
doubting  but  curious,  orders  a test  of  the  mysterious 
flute.  Its  certain  power  compels  everybody  to 
dance,  and  the  judge,  breathless  and  his  dignity 
outraged,  condemns  Luc  to  death.  But  now  the 
notes  that  had  proceeded  from  the  magic  flute  are 
heard  elsewhere,  and  the  bewildered  assemblage 
behold  Oberon,  in  splendor,  standing  above  them. 
He  reveals  himself  as  the  hermit  that  day  cast  out 
by  the  farmer’s  wife,  and  she,  begging  forgiveness, 
is  granted  it  only  on  condition  that  she  accepts  Luc 
for  Lise.  As  the  marquis  and  his  footman  steal 
away,  the  villagers  celebrate  the  happiness  of  the 
true  lovers. 


battle,  when  invaders  hold  the  power  against 
armed  opposition,  when  peril  is  imminent,  and  any 
moment  may  bring  on  fighting  anew. 

In  this  time  of  stress,  state  entertainment  is  a 
matter  of  diplomacy.  The  ball  given  by  the 
Governor  has  an  official  purpose,  to  take  public 
mind  from  danger,  to  establish  a sense  of  security, 
to  win  friends.  For  the  entertainments  of  the 
guests  a ballet  is  danced.  This  dance,  originated 
by  the  famous  ballet  master  Petipa  of  St.  Peters- 
burg, has  taken  rank  as  the  greatest  classical  pas 
ever  devised. 


PAVLOWA,  NOVIKOFF 
AND  ZAILICH 


H a 1 t e D e 

There  is  work  to  be  done  in  the  fields  this 
day  and  the  peasants  assemble  to  receive  the 
Mayor’s  instructions  as  to  their  tasks.  Marie,  the 
Mayor’s  daughter,  under  cover  of  her  father’s  ad- 
dress, tells  Pierre  he  may  meet  her  in  secret,  and  as 
a mark  of  favor  she  gives  a blue  ribbon  to  him. 
Marie  has  a rival  in  Therese  who  also  urges  Pierre 
to  come  to  her,  and  her  gift  to  him  is  a red  ribbon. 

The  villagers  depart,  the  men  to  the  fields,  the 
women  to  their  homes.  Pierre,  unobserved,  falls 
back  and  returns  to  the  tryst.  Elated  over  the 
love  of  the  two  girls  he  wonders  which  will  be  first 
to  appear  and  ponders  which  ribbon  to  wear. 
Therese  approaches,  and  Pierre  kisses  the  red  rib- 
bon. Believing  by  this  token  that  Pierre  has  de- 
clared his  love,  Therese  permits  him  to  caress  her. 
Marie  comes  upon  them  as  they  kiss  and  shame- 
facedly Pierre  and  Therese  draw  apart.  Marie 
upbraids  Pierre  as  fickle,  and  reproaches  Therese. 
The  quarrel  is  high  when  a trumpet  announces  the 
advance  of  a body  of  hussars  and  lancers.  Pierre 
tries  to  escape,  but  the  soldiers  prevent  it.  They 
lead  him  before  their  colonel  who  demands  the 
reason  why  the  villagers  have  not  turned  out  to 
welcome  him  and  have  prepared  no  entertainment 
for  the  troops.  Pierre  refuses  to  explain.  Nor 
will  he  bring  wine.  The  colonel  to  punish  his  ob- 
stinacy orders  him  locked  in  a barn  and  again  has 
the  bugle  sounded. 

This  call  draws  the  curious  peasant  women  out  of 
doors,  but  when  the  soldiers  try  to  seize  them  they 
hastily  re-enter  their  houses.  Marie,  evading  the 
soldiers,  seeks  about  for  Pierre.  Hearing  a rapping 
on  the  barn  door,  she  opens  it  and  is  astonished 


C a V a 1 e r 1 e 

upon  discovering  Pierre.  He  is  explaining  his 
encounter  with  the  soldiers  when  a young  lieutenant 
espies  Marie,  and  attracted  by  her  prettiness  at- 
tempts to  flirt  with  her.  Pierre  in  fear  of  recapture 
hides  behind  Marie,  and  she,  to  draw  attention 
from  him,  challenges  the  young  officer  to  dance 
with  her.  He  accepts,  and  as  they  dance  the  cap- 
tain of  hussars  comes  up. 

Admiring  the  peasant  girl  he  orders  the  lieu- 
tenant off  on  military  service  and  in  turn  makes 
love  to  Marie.  Soon  the  colonel  appears  and 
serves  the  captain  as  the  captain  had  served 
the  lieutenant,  finding  duty  for  him  elsewhere. 
Like  the  others,  the  colonel  falls  in  love  with 
Marie,  but  she  plans  a prank  on  this  elderly 
admirer.  She  tells  him  the  other  officers  had 
asked  her  to  dance  with  them,  so  now  she  invites 
him  to  dance  with  her.  Mindful  of  his  years 
he  hesitates,  but  at  length  yields  to  the  girl’s 
coquetry,  and  with  the  difficulty  of  years  under- 
takes the  dance.  Officers  and  peasants  arrive  as 
this  exhibition  is  in  progress.  The  colonel  perceives 
that  their  compliments  upon  his  dancing  are  ridi- 
cule, and  as  an  acknowledgment  of  his  folly  he 
commands  a fete  in  the  village,  permitting  the 
soldiers  to  participate  in  the  dance.  In  the  midst 
of  the  festivities  the  Mayor  returns,  and  addressing 
the  colonel  complains  of  the  behavior  of  his  men. 
To  make  amends  the  colonel  announces  that  a col- 
lection has  been  taken  up  among  the  soldiers  as  a 
dowry  for  Marie  and  she  and  Pierre  celebrate  their 
betrothal  amid  great  rejoicing. 

Halte  de  Cavalerie  was  arranged  for  the  ballet 
by  Marius  Petipa.  The  music  is  by  Armsseimer. 


When  Pavlowa  Decided  1 o Dance 


Anna  PAVLOWA’S  Christmas  treat  when  she 
was  eight  years  of  age  was  to  be  taken  by  her 
mother  to  see  the  ballet  “The  Sleeping  Beauty’’  at 
the  Mariensky  Theatre  in  St.  Petersburg.  Then  was 
decided  the  career  of  the  greatest  dancer  the  world 
has  ever  known.  Pavlowa  determined  she  would 
become  a dancer.  She  pleaded  for  days  until  at 
length  her  mother  took  her  to  the  Imperial  Marien- 
sky Institute  of  the  Ballet,  the  school  maintained 
by  the  Czar  for  training  children  as  dancers.  She 
was  told  she  was  too  young,  that  she  must  wait 
two  years,  then  if  she  returned  her  application  for 
admittance  might  be  considered.  Pavlowa  relates 
that  in  the  succeeding  time  her  thoughts  and  her 


dreams  were  of  becoming  a dancer,  and  her  play 
was  practicing  the  dance  as  she  remembered  it  that 
Christmas,  the  first  time  she  had  e.  er  been  in  a 
theatre. 

At  the  expiration  of  the  appointed  time  she  went 
back  to  the  school  and  was  admitted  as  a pupil. 
Followed  six  years  of  relentless  work  and  study 
and  practice  before  she  was  graduated.  In  four 
years  she  became  a solo  dancer  in  the  Imperial 
Russian  Ballet,  and  in  three  more  years  she  was 
advanced  to  the  rank  of  prima  ballerina.  Her 
promotion  was  the  quickest  in  the  history  of  the 
Russian  Ballet  whose  members  are  of  the  Czar’s 
official  family. 


C o p p e 1 i a 


COPPELIA  was  arranged  by  Neweter  and  Saint 
Leon,  and  is  from  the  Tales  of  Hoffmann. 
The  music  is  by  Delibes. 

Coppelia,  sweet,  fragrant  and  tuneful,  has  always 
been  a favorite  wherever  ballet  performances  are 
given.  The  designation  “ocular  opera”  is  peculiar- 
ly appropriate  for  it  because  it  is  nothing  more  or 
less  than  one  of  the  most  popular  of  grand  operas 
ocularized,  or  subjected  to  ballet  adaptation. 

Delibes  perhaps  never  wrote  more  charming 
music  than  that  to  which  the  dancers  trip  and  whirl 
and  flutter  through  the  two  merry  acts.  The  story 
itself  sparkles  in  a way  difficult  for  the  librettist  to 
follow. 

Dr.  Coppelius,  creator  of  mechanical  toys; 
Swanilda,  the  reigning  beauty  of  the  Hungarian 
village,  and  Franz,  a handsome,  simple  village 
youth,  are  the  principal  characters. 

Dr.  Coppelius’  genius  has  found  expression  in  a 
wonderful  doll  of  life  size,  so  true  to  nature  that 
when  the  aged  toy-maker  displays  it  in  an  upper 
window,  Franz  falls  in  love  with  it,  unmindful 
of  the  fact  that  Swanilda  is  infatuated  with  him. 
He  casts  glances  of  ardent  affection  toward  what  he 
believes  to  be  the  most  beautiful  maiden  ever 
seen.  Swanilda  is  filled  with  bitter  hatred,  while 
Coppelia’s  inventor  grows  fondly  to  regard  the  doll 
as  possessing  unlimited  possibilities  of  mobility 
and  almost  of  thought. 

The  curtain  rises  on  a fete  day  in  the  little  ham- 
let. Swanilda  makes  her  appearance,  pursuing  a 
beautiful  butterfly.  Franz  takes  up  the  chase, 
captures  the  pretty  creature  and  pins  it  in  his  hat, 
to  the  disgust  of  Swanilda,  who  would  not  willingly 
see  it  destroyed. 

The  mayor  and  other  dignitaries  arrive,  and 
the  fete  begins.  As  night  is  falling,  the  toy-maker 
emerges  from  his  shop  to  fall  into  the  hands  of 
roistering  stf'^ents.  They  torment  him  and  he 
takes  flight.  He  has  lost  his  keys  in  the  melee  and 
a bevy  of  Swanilda’s  girl  friends  find  them.  They 
enter  the  shop  for  a lark.  Franz  arrives  on  the 


scene  with  a ladder,  intent  on  reaching  the  window 
where  his  love  beckons  and  smiles  upon  him.  He 
has  almost  succeeded  when  Dr.  Coppelius  returns 
to  search  for  his  keys.  He  pulls  the  ladder  from 
under  Franz  and  the  curtain  falls  with  the  latter 
attempting  to  explain  his  apparently  felonious 
visit. 

Swanilda  and  her  companions  have  started  on  a 
romp  within  Dr.  Coppelius’  laboratory,  when  they 
find  themselves  interrupted  by  Dr.  Coppelius’ 
return.  Swanilda  takes  the  place  of  the  doll, 
which  she  rudely  throws  aside,  and  her  compan- 
ions flee. 

Dr.  Coppelius,  taking  advantage  of  an  oppor- 
tunity to  test  a pet  theory  of  his — the  transmission 
of  life  to  one  of  his  figures — drugs  Franz  and  then 
proceeds  to  carry  out  his  test. 

Exercising  the  secrets  of  his  dark  studies  he 
attempts  to  transmit  the  youth  and  vitality  of 
the  prostrate  Franz  to  the  doll  that  Swanilda  is 
impersonating.  Swanilda,  scarcely  comprehending 
it  all,  continues  her  prank  by  hoaxing  Dr.  Coppelius 
into  believing  he  has  accomplished  his  purpose. 
She  yields  to  every  wish  expressed  by  Dr.  Coppelius, 
who  is  delighted  with  what  he  regards  as  the  suc- 
cess of  his  experiment. 

Finally  when  Franz  returns  to  his  senses,  she 
runs  off  with  him,  and  the  aged  experimenter, 
when  he  discovers  that  he  has  been  the  victim  of  a 
cruel  hoax,  falls  to  the  floor  heartbroken — dead. 

This  bit  of  tragedy  is  a master  stroke  of  construc- 
tive genius  found  only  in  the  Russian  version,  and 
the  contrast  between  thf  rippling  comedy  and  this 
grim  bit  of  tragedy  is  generally  regarded  as  the 
strength  of  the  ballet.  Hitherto  the  Italian  version 
has  been  employed  in  this  country,  which  makes 
the  finale  merely  a romp  in  the  toy-maker’s  shop. 
The  Russian  version  gives  to  Dr.  Coppelius  a 
stronger  character  in  that  he  is  portrayed  as  a 
scientist  with  a deep  mission  underlyi^  his  ec- 
centricities, rather  than  a mere  maker  of  toys. 


Pavlowa’s  World  Tour 

PAVLOWA’S  present  American  tour  is  part  of  a 
world  tour  which  is  the  most  extensive  ever 
undertaken.  1 1 began  at  the  close  of  the  London 
engagement  last  summer  when  Pavlowa  toured 
Europe,  appearing  in  the  principal  continental  capi- 
tals and  finishing  with  command  performances  be- 


fore the  Czar  in  St.  Petersburg.  In  this  country 
and  Canada  she  will  visit  cities  of  first  importance, 
going  then  to  Havana,  to  Central  and  South 
America,  Australia,  Japan,  China,  and  to  South 
Africa.  The  tour  will  take  two  years.  In  this 
journey  around  the  globe  Pavlowa  will  carry  her 
entire  company  and  orchestra. 


— THE 

National  Opera  Company  of  Canada 

Max  Rabin  off,  Managing  Director 

WILL  VISIT  THE  UNITED  STATES 

at  the  conclusion  of  its 
season  in  Canada,  for  a 

Special  and  Limited  Tour 

If  this  organization  appears 
in  this  city  you  will  have  the 
rare  good  fortune  of  hearing 

Grand  Opera  in  the  Highest  Form 


Steinway 

the  Piano  by  which  all  others  are  measured  and  judged, 
is  not  merely  a local  or  national  one.  It  is  international, 
universal,  world-wide,  and  is  the  recognition,  in  the  strong- 
est possible  manner,  of  a work  of  art  that  is  in  its  line  un- 
equalled and  unrivalled. 

From  its  inception  the  Steinway  Piano  has  been  known  as 
THE  BEST  PIANO,  without  qualification  and  without 
limitation. 

STEINWAY  & SONS 

Steinway  Hall 

107-109  East  14th  Street,  - - New  York 

SubT))a^  Express  Station  at  the  Door 

Represented  by  the  FOREMOST  DEALERS  Everywhere 


BLANCHARD  PRESS,  NEW  YORK 


DUKE  UNIVERSITY 


LIBRARY 

^Campus  Ubi^i^ 


DURHAM,  NORTH  CAROLINA 
27706 


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